Mainstream cinema culture is reluctant to reconcile the digital video versus film stock debate. As with any story of king and pretender to the throne, it is too easy to dichotomise and thus deny the possibility of a fruitful dialogue between past and future. When contrasts are characterised as oppositions, the space in between gets totally lost. Yes, film’s incumbency is on the wane and digital cinema’s ubiquity has arrived, but the instant that a paradigm shifts is hard to recognize and impossible to isolate. More likely, it is the very idea of competing film and digital aesthetics that will, in the future, be pointed to as the characteristic sentiment of the vague time during which the old film technologies were put away for good. But for now, we have purists on both sides advocating the essentialness and relevance of their chosen media, more or less to the exclusion of its alternative.
- 6/2/2015
- by Tom Stevenson
- MUBI
Tonight in London, the Barbican presents We Have an Anchor, Jem Cohen's "cinematic love letter to Nova Scotia's Cape Breton. Multiple layered film projections are interspersed with texts ranging from poems to local folklore, and buoyed by [an] alternately ethereal and epic original score written and performed by members of Godspeed You! Black Emperor, Fugazi, Dirty Three and more." A Jem Cohen Film Season begins at Whitechapel Gallery on April 9 with a screening of Museum Hours and runs through May 28's presentation of Chain. And the Hackney Picturehouse will present Benjamin Smoke on May 17 and Instrument on May 18. All this occasions Sukhdev Sandhu's excellent profile for the Guardian. » - David Hudson...
- 3/31/2015
- Fandor: Keyframe
Tonight in London, the Barbican presents We Have an Anchor, Jem Cohen's "cinematic love letter to Nova Scotia's Cape Breton. Multiple layered film projections are interspersed with texts ranging from poems to local folklore, and buoyed by [an] alternately ethereal and epic original score written and performed by members of Godspeed You! Black Emperor, Fugazi, Dirty Three and more." A Jem Cohen Film Season begins at Whitechapel Gallery on April 9 with a screening of Museum Hours and runs through May 28's presentation of Chain. And the Hackney Picturehouse will present Benjamin Smoke on May 17 and Instrument on May 18. All this occasions Sukhdev Sandhu's excellent profile for the Guardian. » - David Hudson...
- 3/31/2015
- Keyframe
With experimental documentaries like "Chain" and "Instrument," Jem Cohen has made intimate non-fiction diary films rooted in an attentiveness to atmosphere and riddled with small observations rendered in profound terms. "Museum Hours,"which opens today in select theaters, is technically his first narrative effort, with a pair of amateur performances and the backbone of a fictional story. But its constant introspection and remarkable sense of place provide a fluid connection to the earlier work. On the one hand a sad, poignant character study, "Museum Hours" is also a treatise on art history and a love letter to architectural wonder. Predominantly set in Vienna's grand Kunsthistorisches Art Museum, the trim story involves middle-aged museum guard Johann (Robert Sommer, making a gently affecting onscreen debut), whose quiet gig has allowed him to fade into his surroundings and observe the visitors in much the same way they peer at the artwork. It's here.
- 6/28/2013
- by Eric Kohn
- Indiewire
Whoooooa Jem! She’s truly outrageous! Truly, truly, truly outrageous! But, come on, is she really? Without the rest of her band, the Holograms, Jem would just be some crazy lady in Diablo Cody’s dreams that has multiple personalities and speaks to inanimate objects on her ear, homeskillet. So which Hologram is cooler than the title character? If you ask me, I’d have to go with Jem/Jerrica’s little sister Kimber, but that’s just because I know how it feels to be an under-appreciated younger sibling. But I’d prefer to let you all decide, PopWatchers.
- 6/24/2011
- by Kate Ward
- EW.com - PopWatch
[Our thanks to Kier-La Janisse for the following.]
Another Ottawa International Festival of Animation has wrapped, and a recent move to the vicinity has finally allowed me to attend the legendary event, the largest in Canada of its kind, and renowned internationally as a launching pad for many up-and-coming animators. The industry section of the festival alone - a robust conference that facilitates interaction between animation studios, schools and budding talent - makes the festival unique, but at the head of it all is Artistic Director Chris Robinson, eccentric animation scholar whose curatorial preference for underdog animation ensures that Oiaf stays vital and exciting.
Going through last year's schedule, I was a bit worried that the programming was going mainstream, but any doubts were allayed by this year's feature competition (which forewent some obvious choices - the new Svankmajer, for example - in favour of more personal, low budget productions) and various indie-focused retrospectives.
Winnipeg animator Mike Maryniuk...
Another Ottawa International Festival of Animation has wrapped, and a recent move to the vicinity has finally allowed me to attend the legendary event, the largest in Canada of its kind, and renowned internationally as a launching pad for many up-and-coming animators. The industry section of the festival alone - a robust conference that facilitates interaction between animation studios, schools and budding talent - makes the festival unique, but at the head of it all is Artistic Director Chris Robinson, eccentric animation scholar whose curatorial preference for underdog animation ensures that Oiaf stays vital and exciting.
Going through last year's schedule, I was a bit worried that the programming was going mainstream, but any doubts were allayed by this year's feature competition (which forewent some obvious choices - the new Svankmajer, for example - in favour of more personal, low budget productions) and various indie-focused retrospectives.
Winnipeg animator Mike Maryniuk...
- 10/27/2010
- Screen Anarchy
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